Klassik 210 Artikel

Duvall Timothy isn't a musician. At least not in that conventional sort of way. No, Timothy's artistic expression is the sort in which all of his daily actions are intentional and each action reveals a small part of his large vision.He steps out for his day dressed in all blue: A statement of self. He chefs African cuisine: a medium to discover his heritage and share that heritage with others. And when he returns home, he plays piano.What you have here is an exploration in memory. Memories of classical, of jazz, and hip-hop. Fragmented into its elements, looped simply, and then reconstructed complexly.Timothy's compositions evolve the same way any meaningful memory comes back to the mind. At first in snippets looped in the minds fog. Then, as those fragments build, the scenes of the past rush back into full view. And as quickly as they appear, they dissipate away. Fleeting and substantial. But the simplicity is purposeful.And while Timothy is drawing from deeply personal experiences, his playing feels intimate and familiar because we've all felt the essence of memory: love and loss, joy and pain.So it's fitting that this be the inaugural offering from I Should Care Records. It's our hope that Brown Loop is as memorable and haunting for you as it was when we first heard it.

A stunning version of Steve Reich’s masterpiece of musical minimalism “Music for 18 Musicians” (1974-1976) performed live at Tokyo Opera House in 2008 by The Modern Ensemble and Synergy Vocals featuring the composer as guest performer. In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music, he discovered tape-based techniques of looping and phasing using recordings of fragments of speech, and then molecules of musical material. “ (…)When Steve Reich released Music for 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including “Four Organs” (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion—piano, vibraphone, marimba and xylophone—but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping “Pulses” develop, it's a demanding suite to play (…)"

If you thought classical music was snobby and polished: give this a chance!"Infra" is the 2010 album by neo-classical composer Max Richter, released July 2010 on FatCat Records.

Limited edition for Record Store Day 2017!The 180g deluxe pressing comes with an additional lavish 32-page booklet in linen bound outersleeve and gold foiled font, printed inner sleeve and a digital download voucher!

“Three Worlds: Music from Woolf Works” is the new album by Max Richter. The album is based on the Woolf Works compositions, originally created for the London Royal Ballet production of choreographer Wayne McGregor. This was production was inspired by the work and life of Virginia Woolf.Max Richter (1966) is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter is well known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema.

Sunn 0))) member Stephen O'Malley debuts on Demdike Stare's imprint!The dark interpreter, Stephen O’Malley ov Sunn 0))), presents his towering debut orchestral composition ‘Guidés’; commissioned by French 35-piece improv orchestra ONCEIM - l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales - and released thru Demdike Stare’s DDS label.In early 2014 O’Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, comprised of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation and classical. Understandably intimidated by the prospect, but encouraged to “just be punk rock about it”, the preternaturally gifted composer has conceived a technically demanding - for the players at least - and richly rewarding longform drone piece intently focussed on harmonic experimentation and overtone study.During its 35 minute lifespan, ‘Gruidés’ requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding a gloaming spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion as used in his Scott 0))) collaboration.It makes great use of the acoustic qualities of Saint Merry church, central Paris, as captured in the recording of IRCAM’s Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in the cover art by Jean-Luc Verna. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber and, indeed, Sunn 0))).

Claude Debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. His innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of Steve Reich, Philip Glass, Miles Davis and Herbie Hancock. Remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music.

Originally released in 1979 under the experimental label Cramps, “I Fiori del Sole” is a composition for organ and piano by the Italian duo Michele Fedrigotti and Danilo Lorenzini. The encounter between minimalist aesthetic and evocative religious atmospheres make this album one of the most interesting and obscure treasures of the Italian Minimalism. The album was produced by the legendary Franco Battiato with whom the duo Fedrigotti-Lorenzini collaborated the same year for “L’Era del Cinghiale Bianco.”

Parisian DJ and producer Kiddy Smile embodies the lifeblood of house music past and present. His music flashes with nostalgia for those mid-80s New York basements where house music first came alive. ‘Teardrops In The Box’ pulses with the intoxicating energy of a Ball in Kiddy’s native Paris, with its deep-rooted traditions but its intensely forward-focussing culture.Following up on his fearsome debut ‘Let A B!tch Know’ on Defected, Kiddy Smile has deployed the well-established remixing capabilities of Mystic Bill, a house champion from the underground schools of Detroit and Chicago. His ‘Jersey Dub’ eases back on the tempo for a syncopated strut to The Garden State, while the ‘Vocal Mix’ is a bulkier prospect, emphasising Kiddy’s growling vocal with some serious attitude bass. Finally, his vinyl-exclusive ‘Acid Mix’ is specifically designed for getting twisted on dark, underground floors. Cowbell and raw synths give ‘Teardrops In The Box’ unadulterated dancefloor credentials but this is more than a club record; the layers to this track run deep.

Krystian Zimerman (born 1956) is a Polish virtuoso pianist who has been hailed as one of the finest living pianists.He is especially known for his interpretations and recordings of Chopin’s compositions.

Deutsche Grammophon presents the album “Room 29”, a unique collaboration between Jarvis Cocker and Chilly Gonzales.Standing at the west end of Hollywood’s Sunset Boulevard, the Chateau Marmont hotel has seen many a famous and infamous guest pass through its doors since it opened in 1929. A 2012 stay in one of its second-floor rooms inspired British lyricist and singer Jarvis Cocker to look into its history and led to this collaborative project with multi-faceted Canadian pianist and composer Chilly Gonzales. “Room 29” is a 21st-century song cycle. Gonzales’ score and Cocker’s lyrics conjure up the lives of some of “Room 29’s” previous occupants, as well as shining a light on the glittering fantasy and often bleak reality of Hollywood.“Room 29” was recorded in Paris following its “work-in-progress” premiere at Hamburg’s Kampnagel in January last year.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.Emerging on vinyl for the first time since its original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Originally released by Multhipla Records, The Entire Musical Work of Marcel Duchamp is a collection of experimental pieces composed in 1913 by the legendary artist, and executed by Petr Kotik and the S.E.M. Ensemble in 1976. Employing chance operations and non-musical sounds, Marcel Duchamp’s musical oeuvre predated some radical concepts developed forty years later by John Cage.

* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form. * As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered. * Emika is on a quest to try and change what we mean when we talk about ‘classical music’. For her, the magic of the ‘genre’ is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself. * I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops.”

According to the master’s 80th anniversary 3rd of October 2016 Deutsche Grammophon presents the iconic recording from 1974. “Music for Mallet Instruments, Voices and Organ“ was recorded 1974 in Polydor-Studios Hamburg. 40 years later this great recoding finally gets officially re-released. The record contains liner notes of Steve Reich and photos. This is a limited run of 2500 copies. The records are pressed to 180g vinyl including a download code.

Another fine reissue of a Chicago classic from Jeff Craven and his Large Music imprint focusing again on the dynamic artistic team of Black Ice Productions. First released in 1992 on Velvet City Records, The Black Ice EP treads more into a deeper and jazzier vibes than their other outings at that time (such as the Union Camp release). A few listens and one can easily recognize the influence that all four tracks had on future labels and artists throughout the mid and late 1990's. This is timeless, pioneering Chicago deep house at its finest and a must have for all collectors.

Unreleased Neo Classic tracks by Max Richter. Hauschka, Johann Johannsson, Dustin O’Halloran, Sylvain Chauveau, etc. on Fat Cat's sub label 130701.

Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting withusing scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

Stunning new album from this Vancouver-based vocalist/composer

Winter is coming! The soundtrack for Game Of Thrones is scored by German composer Ramin Djawadi, best known for his Grammy-nominated score for Iron Man, Pacific Rim, Clash Of The Titans and for the TV series Prison Break. The fourth season soundtrack also features a single "The Rains Of Castamere" by Icelandic post-rock band Sigur Rós.

With Solo Piano, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano.

Limited edition of 500 copies only!In the 70′s, the Italian public television RAI used to broadcast disturbing paranoiac dramas, weird documentaries on the bottom of the sea and indigestible so-called “educational” movies. Obviously, all that stuff needed some music. Or “sonorizzazioni” (soundtracks), as they were called. These soundtracks were handled by shady characters, on the border between avant-garde classical, electronic space age and a healthy Italian pop touch. Some names are familiar: Ennio Morricone, for example. Or the mythological Piero Umiliani, too.But the biggest of all was Egisto Macchi. His Voix, a ghostly fresco of lunar vocals and abstract phonemes, is one of the masterpieces of the Italian “library music”.“ESP” is a four-part television series produced by Rai in 1973, directed by Daniele D'Anza, and aired from Sunday, May 27 1973 to Sunday, June 17, 1973 on the National Program. Music by Egisto Macchi.

Han Swolfs turns our senses to more classic and jazz infused pieces, improvised almost entirely on winged piano. “Gazebo Compositions” can be considered a resting point after Han’s more energetic electronic releases and grasps back to his roots. Inspired by a video-work by Jef Cornelis, Han translates moods and impressions of memories of his youth and his relation to the artist using a technique similar to Ecriture Automatique. Each note sprouts inspiration for the next one and composes the full story with uppers and downers. Belgian duality in it’s bloom for this summer release.Written and performed by Hantrax. Mastered at Dubplas & Mastering Berlin. Pressed on (180g) 12inch black vinyl with a video still cover taken from “De Koninklijke serres van Laken 1877-1902” made by Jef Cornelis in 1974. Packed in a silk-screened transparant over-sleeve.

Yo-Yo Ma Plays the Music of John Williams is a 2002 album of John Williams compositions performed by Yo-Yo Ma and the Recording Arts Orchestra of Los Angeles.The album celebrates its 15th anniversary this year and is now finally available on vinyl for the first time. A 4 page booklet with an extensive story written by John Williams is included.

Die legendären britischen Rough Trade-Shops starten mit "Behind The Counter" eine Release-Serie mit Einflüssen und Inspirationen ihnen beliebter Künstler. Den Anfang macht der in Berlin lebende, britische Neoklassik- und Filmkomponist Max Richter, der einen faszinierenden Einblick in seinen musikalischen Kosmos gewährt, aus dem er seine einzigartige, künstlerische Vision schöpft. Die 36-Track-Compilation enthält Musik von Mogwai, Boards Of Canada, Let's Eat Grandma, Kaitlyn Aurelia Smith, Godspeed You! Black Emperor, Philip Glass, Aphex Twin und Low, sowie klassische Werke von Rachmaninoff und Bach.

Er gilt als Lieblingskomponist von Wim Wenders, wird vom Tanztheater Wuppertal Pina Bausch sowieFernando Arrabal und Lars von Trier bewundert und hat schon mit dem legendären Regisseur PeterGreenaway zusammengearbeitet: Luca D’Alberto. Mit "Endless" legt der italienische Komponist undMultiinstrumentalist sein Debütalbum vor. Es erscheint - noch eine Premiere - beim 2017 frisch aus der Taufegehobenen Imprint 7K!, dem neuen Neoklassik-Unterlabel von !K7. Obwohl klassisch ausgebildet, istD’Alberto ein stilistischer Grenzgänger, der in seiner Musik nach neuen Ausdrucksformen sucht und dabeiherkömmliche orchestrale Instrumente und elektronische Klangerzeuger mixt. Passend dazu hat D’Albertoauf den insgesamt neun Stücken von "Endless" jedes Instrument selber eingespielt - von Piano undSynthesizer über Violine, Bratsche und Cello bis hin zu Violectra. D’Albertos passionierte, ausdrucksstarkeund soundtrackartige Neoklassik erinnert an Ludovico Einaudi und verbeugt sich sowohl vor Großmeisternwie Steve Reich, Philip Glass, Michael Nyman, Max Richter und Ryuichi Sakamoto als auch musikalischenQuerdenkern wie Tricky, Tim Hecker oder Nils Frahm. Bei der Produktion wurde D’Alberto von Innervisions-Mitglied Henrik Schwarz unterstützt.Klassikradio (Late Night)Radio 1 Late Night LoungeRadio FritzBig FMFlux FMN-JoyByte FMHoradsAntenne DüsseldorfRadio ZusaRadio ZRadio Okerwelleu. a.Intro + FeatureGroove + FeatureSpexFazeWiredKulturnewsU-MagTip Berlin + FeatureSzene HamburgElectronic Beatsu. a.whitetapeswhiskey & sodabln.fméclat magplattentests.demixmaggrooveplattentestteleschautestspielu. a.Presse

Víkingur Ólafsson, born1984 in Island, is in his home country a well-known as acclaimed musician. He was awarded “Musician Of the Year” four times already.Now, Deutsche Grammophon presents his debut album with “Piano Works” by Philip Glass for solo piano.

Pierre Fournier‘s amazing interpretation, recorded 1961, of Johann Sebastian Bach’s “6 Suites for solo Violoncello (BWV 1007-1012)” is still considered to be the top notch reference recording for these compositions to date.Deutsche Grammophon tributes these great recordings with a new high quality edition packed in an hand-numbered archive production styled linen outer box. All records are pressed on 180-gram vinyl. The box also contains a 12-page booklet and a download code.

Songs from the Trilogy is a 1989 compilation album of songs from Philip Glass' operas Einstein On The Beach, Satyagraha and Akhnaten. Many of the songs on the album have been altered or shortened from their original composition.

Editions Mego is proud to present the latest opus from legendary British composer, actor, sound designer and all round fine human Simon Fisher Turner. Giraffe is a new major work which blurs the lines between sound design and song, machine severity and narrative sentimentality. Subtitled 'living in sounds and music' Giraffe take the listener through a vast journey where an abstract clacking of unknown origin rubs up against a melancholic electronic sequence. 'Life sounds' were captured with a portable hard disc recorder and i-phone and appear alongside contemporar sound design. Emma Smith provides the narrative on 'Slight Smile' whilst electronic machines grind amongst background industrial klang in 'Mud Larks'. 'Save As' revolves around a beautiful simple piano motif which soon folds into an unnerving field recording and drone combination.

German-born British composer Max Richter is launching his own record label, which kicks off with a 12″ of ‘On The Nature Of Daylight’, a classic track that was used recently in Denis Villeneuve’s sci-fi thriller Arrival.

Recorded in Venice in 1961 by the French sculptor, painter, and iconoclast Jean Dubuffet, these recordings were originally released in a hyper-limited 10” box set that is all but impossible to acquire. An early progenitor of the avant-garde and musique concrete, Dubuffet’s recordings nearly defy category and still sound innovative some 50+ years later. Essential and unequivocal recordings from the founder of the Art Brut movement.

We are very happy to introduce a new opera by Efterklang:LEAVES-the colour of falling.A co-composed the opera together withKarsten Fundal.

The LP release presents the reissue of a little-known, but extremely beauty, Post-Minimalism album composed by Wayne Siegel when he was mid-twenties. Moved from US to Denmark, between 1979 and 1980, he began to investigate possibilities of a very personal language, contributing to create the heterogeneous kaleidoscope of Post-Minimalism results. These works are constructed around a relentless musical process that consists of delaying and repeating every element in a certain measure, without intentional alteration. Siegel called this process canon technique, letting it to become over time his nutritious obsession. Compared to the original 1983’s release by Danish label Paula, are now included authentic pictures from the performance of Domino Figures, so that finally return visual results of Siegel’s works as part of his contribution to contemporary arts. Moreover, the present reissue presents precious liner notes written by the author, echoing the current value of his experimental approach to the sound practice. “Autumn Resonance” is a fast canon in which musical figures move quickly around the concert hall: measuring distances, Siegel emphasizes the interrelation of the individual piano, the acoustic of the concert hall and his mood as parts of an organic work. “Domino Figures For 10-100 Guitars” embodies as sound work the shape of a semicircle. Widely renowned in its large number of declinations, here is presented in a 42 guitars version, dedicated to the Danish guitarist Erling Møldrup: the performers are sit in a semicircle in a kind of slow chain reaction where a choral texture is produced, evolving and slowly changing. Massive sound, spatial effects and strong visual impact meanwhile of aural: Wayne Siegel’s early works can definitely be perceived as art installations, part of a transformation in music as drastic as open.

After his impressive and acclaimed work with "For Now I Am Winter" and "The Chopin Project", multi-instrumentalist and composer Ólafur Arnalds goes on a journey in his home country Island for his latest album. He recorded seven songs within seven weeks in seven different locations together with local artists and friends like Nanna Bryndís Hilmarsdóttir (Of Monsters And Men) and Einar Georg Einarsson, influenced and inspired by each surrounding. The album also contains another bonus track „Study for Player Piano“.

During an interview recorded at the KPFA Radio Steve Reich and John Gibson introduced an East Coast performance of Steve Reich masterpiece “Four Organs” as well as an exciting recording of Ghanian drumming which the artist recorded in Ghana. They also introduced the music of Philip Glass, playing a tape of his historical Music in Similar Motion.

Russian LP of electronic interpretations of ‘classical’ pieces by Claude Debussy and Monteverdi among others . Yuri Bogdanov features on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky and others. Other tracks feature Vladimir Martynov.“The record is made on the basis of a kaleidoscope: it interspersed with pieces of various styles, genres and eras. For example, these pieces the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time, we realized with SYNTHY100 synthesizer (...)” from original liner notes

Das Album des jungen, russischen Pianisten Ilya Beshevli wird in Fachkreisen im Vorfeld bereits als eines der besten modernen Klassikalben der Jetztzeit bezeichnet. "Wanderer" erscheint auf 180g Vinyl inklusive Download-Code.

Mit einem Fuß in der klassischen Welt und dem anderen im Rock - die Starviolinistin auf Solopfaden. Wenige Lebensläufe lesen sich so schillernd wie der von Fiona Brice. Als Violinistin stand die gebürtige Britin bereits mit Größen wie Kanye West, Jay-Z, Beyoncé, Gorillaz und Robbie Williams auf der Bühne und zeichnete für zahlreiche Orchester-Arrangements für John Grant, Anna Calvi, Midlake, Placebo, Vashti Bunyan und Jarvis Cocker verantwortlich. Am 3. Juni erscheint nun ihr Debütalbum "Postcards From..." mit Eigenkompositionen bei Bella Union. Darauf nimmt uns Fiona Brice in zehn sparsam instrumentierten, aber dennoch sehr atmosphärischen, facettenreichen Instrumentalstücken mit auf eine musikalische Reise von Berlin über Sankt Petersburg und Tokio bis nach Denton.Color Vinyl LP+CD.

The French-born Edgar Varèse (1883-1965), believed music to be both an art and a science. His pioneering use of electronic instruments like the theremin, along with his theory of “organized sound” has earned him the impressive title of “Father of Electronic Music”. Varèse spent the early twenties as a starving composer in NYC, writing works like the percussionless “Octandre” and “Intégrales”, his first piece to use the term “spatial music”. Upon returning to Paris in 1928, he composed the celebrated “Ionisation”, the first piece ever written for an entirely percussion ensemble (13 percussionist playing 40 instruments). His 1936 piece, “Density 21.5”, written for solo flute for the premiere of George Barrère’s new platinum flute, is one of the great masterpieces for unaccompanied flute. It is also one of the only compositions written by Varèse during this decade. His next major work, “Déserts”, was in fact not written until 1950. It was the first piece ever written for magnetic tape and orchestra and was meant to be the soundtrack to a film which would juxtapose images of actual deserts with images from past wars (the great ‘deserts’ of civilization).

In dieser Aufnahme trifft überragende Tontechnik auf einen Pianisten auf der Höhe seiner künstlerischen Fähigkeiten und einen brillanten Dirigenten. Das Ergebnis ist ein Juwel im Katalog der Decca. Die Rachmaninoff-Klavierkonzerte und die Paganini-Rhapsodie, interpretiert von Vladimir Ashkenazy und dem London Symphony Orchestra unter André Previn gehören zu den ikonischen Einspielungen aus dem Haus der Decca. Auf drei Vinyl-Platten wird dieser Meilenstein nun in seiner originalen Erscheinungsform gefeiert.

Martin Kohlstedt's debut now available on vinyl.

Flüssig, hypnotisch und virtuos: Der ukrainische Pianist vertont das Thema Wasser.Anknüpfend an das 2013 erschienene Album "Corollaries" und die 2014 veröffentlichte EP "Evertina", verbindet auch "Rivers And Streams" die fließende Handschrift Melnyks mit organischer Vitalität, die als gleichermaßen nuanciert durchdacht gelten darf. Wie der Titel schon andeutet und der Künstler auch selbst herausstreicht, ist das Album den Flüssen und den Strömungen dieser Welt gewidmet - in Anerkennung ihrer Schönheit. Für den ukrainischen Pianisten ist Wasser "das magischste und mysteriöseste von allen Dingen, die wir kennen". Spannend: Das Thema der Veröffentlichung korrespondiert mit dessen Aufnahmetechnik. Melnyk ist bekannt für seine einzigartige "Continuous Music"-Spielweise, die zurecht häufig mit Wasser verglichen wird. Auf "Rivers And Streams" konzentriert sich Melnyk komplett auf seine tiefe Verbindung mit dem Element, bis zu dem Punkt, an dem die Musik amorph und sich ständig verändernd selbst geradezu "flüssig" wird. Von dahintröpfelnden Bächen über sich windende Flusstäler erreicht das Album seinen Höhepunkt in dem majestätischen, 20-minütigen Stück "The Amazon". Jamie Perera an der Akustik- und elektrischen Gitarre und die koreanische Flötenspielerin Hyelim Kim steuern jeweils einen Gastauftritt bei.

2LP collaboration between legendary cult director & the Polish concert pianist.

Comprised mostly of Arvo Part's signature hypnotic tintinnabuli, performed by Anthony Pitt and Tonus Peregrinus, Passio Domini Nostri Jesu Christi secundum Joannem is a slow-moving liturgical piece that offers a vastness, solemnity and intimacy which allows for contemplation of the mysteries and suffering of the canonical text taken from the Gospel of John, chapters 18 and 19. Winner of the Cannes Classical Award.

Blackest Ever Black presents the first vinyl edition of Dickon Hinchliffe's original score for 1980 - the second part of Channel 4 and Revolution Films' Red Riding trilogy, adapted by Tony Grisoni from David Peace's quartet of novels and first screened in 2009.

Joachim Roedelius gehört zu den Übervätern der Kosmischen Musik und des Krautrock. Mit seinenBands Cluster und Harmonia gestaltete er diese Musikstile maßgeblich mit. Heute blickt Roedelius aufeine über hundert Releases umfassende Diskographie zurück, und die Liste seiner musikalischenPartner reicht dabei von seinem langjährigen künstlerischen Weggefährten Dieter Moebius überinternationale Stars wie Brian Eno bis zu jüngeren Musikern wie Tim Story. Arnold Kasar ist fastdreißig Jahre jünger und ein Kind des Crossover im Berlin der 1990er Jahre. Er brach die Grenzezwischen elektronischer Tanzmusik und Jazz auf, er musizierte (und musiziert noch) mit Micatone,Nylon und Friedrich Lichtenstein. Bei ihren gemeinsamen Aufnahmesitzungen in Baden bei Wienentschied Roedelius sich sehr früh dafür, auch Klavier zu spielen. Kasar hatte die Idee, das Klavier mitFilz zu präparieren. So entstand der einzigartige, zarte, intime Klang des Albums. »Joachim[Roedelius] hat einen schönen, weichen Anschlag. Er hatte nie im Leben auch nur eine StundeKlavierunterricht. Es gibt keine Komposition bei ihm. Er macht etwas mit dem Klavier, was er auch mitden Synthesizern macht. Ich kann das nicht erklären, aber es bewegt etwas in mir.«

Henrik Schwarz and !K7 are proud to announce a collaboration that will bare many different musical fruits. The first of these is a brand new label called Between Buttons, curated by Henrik and focused on acoustic sounds and contemporary compositions. Between Buttons will be in partnership with !K7’s own neo-classical hub 7K!, and will kick off with a new mini LP by Schwarz entitled Works Piano, followed by an EP entitled Aphorisms by Syrian artists Khaled Kurbeh & Raman Khalaf Ensemble. Mixing up old and new technologies, experimental and more classical approaches, the label will see Schwarz forge new paths in his own work, as well as curating material from the peers he has worked with over the last 15 years. Mainly made up of acoustic sounds, piano, string quartets, self-built instruments, percussion and intriguing classicist elements with a modern twist, there will be EPs from piano virtuoso Bugge Wesseltoft, as well as other electronic producers wanting to show themselves in a different, more 'unplugged' light. “In these times of constant turbo mode, likes and thumbs-up, we need to go back to basics,” says Henrik. “We want to move away from the idea that relentless hasty productivity is a must, and instead take time to create space, to let ideas mature and to focus the mind on subtler sounds.” Works Piano will be a four track mini album that uses a Yamaha Disklavier as the starting point and reimagines it, reworks it and alters it with various digital and recording technologies. One track is a created with a reactive algorithm and one is composed purely from altered and processed piano sounds.

Herbert von KarajanEin Heldenleben Op. 40

REINHOLD FRIEDL's zeitkratzer proves the perfect ensemble for "Oneirika", avantgarde-veteran ELLIOTT SHARP's composition / soundscape inspired by CAGE-an tradition that premiered at MAERZMUSIK FESTIVAL 2014.

Classical pianist Simone Dinnerstein is famous for having self-released a successful album of Bach's Goldberg Variations in 2007, and has since gone on to release a string of critically acclaimed solo albums; she was among the top-selling artists on 2014's Billboard Classical Chart.

I Musici, founded in 1952, followed in the path of the Virtuosi di Roma. Felix Ayo, their first violin, had been the pupil of Remy Principe, concertmaster of I Virtuosi. I Musici were a sort of Young Virtuosi di Roma, cadets. At least this is how they were seen by the public, who adopted them the way mascots are adopted. I Musici later went their own way, at least in part, and took on Bach and Handel, Mozart (some splendid recordings of Divertimentos and Serenades), Haydn and Rossini, 20th century composers (Britten, Bucchi, Hindemith, Martin, Roussel), and even the late 19th century with the Little Suite Op. l by Carl Nielsen. More a string group open to a wide-ranging repertory than an ambassador of Italian music. But in the concert on this disk I Musici were still the cadets of I Virtuosi di Roma and offered a program composed entirely of 18th century music that culminated in Vivaldi. Typical of those years was the inclusion of a pre-classical composer - or Rococo, if you like - in a Baroque context.

Celibidache never conducted opera (perhaps a single Carmen, or maybe an act of Don Giovanni…) because, he said, opera performance is subject to too many approximations. Celibidache was the great conductor of Symphonies and Concertos and here, in this recital, his performance is the best. Featuring a sublime rendition of Shubert's "Unfinished", this is a magical recording with great sound.

Nathan Milstein was born in Odessa, Ukraine, in 1904. A virtuosic violinist, Milstein made his US debut in 1929 with Leopold Stokowski and the Philadelphia Orchestra. He later settled in New York City and became an American citizen. On the first side here is his wonderful interpretation of Bach's Ciaccona. Using the general architecture of Ferdinand David's arrangement of the piece from the 19th century, Milstein reaches a peak in the second major part in an exciting and frenzied progression that shows impressive control of bow speed and vibrato. An emotional and impressive player and interpreter, and his perfomance here of Bach's Ciaccona, Partita in D minor for solo violin is one of the finest perfomances of his long and storied career. On the B side, Milstein is joined by the noted pianist Arthur Balsam for a recital of Beethoven's Spring: Violin Sonata No. 5 in F maj. Milstein's paying speaks volumes and this is a wonderful recital, though he may not be a household name, Milstein is a hero who deserves a place in the annals of classical music history.

Verwundete Schönheit offenbart sich im von elektronischen Störungen undVerzerrungen überwölkten Gesang von Ian William Craig. Kosmische Dronesund zerebrales Pochen werden zu astraler Strahlenmusik verwoben.Gregorianische Choräle schrauben sich in halluzinogene Höhen, um danachwieder an Ambientufern zu versprudeln. So erwächst ein fragiler Chor ausAbstraktion und intimer Sinnlichkeit, der sich in dunklen Momenten zuunterbewusster Monstrosität auswächst. Erstaunlich souverän wechselt Craig,der eigentlich Gesang studiert hat, wieder zu Liebesliedern, die sanft undausgezehrt zu uns lispeln.

According to Daniel Barenboim’s 75th birthday, Deutsche Grammophon presents this new edition of “Liszt: Wagner Transcriptions”, originally recorded 1982.The LP is pressed to 180-gram vinyl and comes with a new artwork.

Described as the 'Teenage Pavarotti as he rose to stardom through Britain's Got Talent, Jonathan Antoine has not rested on his laurels after his first solo album Tenore went straight to No. 1 in the Classical charts and stayed there for 3 weeks as well as being John Suchet's Classic FM album of the week. After a string of live performances around the UK, Jonathan Antoine announces his second solo album Believe, coproduced by Chris Broom and Clarissa Farran and recorded at British Grove Studio and Air-Edel Studios in London. Vinyl version now being released.

Limited edition for Record Store Day 2017!"The Music Of Gurdjieff / De Hartmann" is the result of an extraordinary collaboration between the Greek-Armenian spiritual teacher, G. I. Gurdjieff and Russian composer, Thomas de Hartmann. Gurdjieff traveled for twenty years in the Middle East and Central Asia to discover and develop the teaching which now bears his name. Meditative and mindful, Gurdjieff’s music stems from Eastern melodies and music he heard in remote monasteries.From 1923 to 1929, Thomas de Hartmann worked closely with Gurdjieff at his Institute for the Harmonious Development of Man outside Paris, translating into European notation the music Gurdjieff composed from his travels. The original tapes containing these tracks were recorded in the 1950s under informal circumstances with rudimentary equipment, never intended to be heard by the public. As for the instrumentation, the performance is stripped down to nothing more than a single piano (played by de Hartmann) but lacks absolutely nothing; rather de Hartmann uses the negative space between notes to revel in resonance, in turn capturing remarkable depth and meaning.Following the appearance of a track on LITA’s “I Am The Center: Private Issue New Age In America 1950-1990”, this material, out of print on vinyl for over three decades, could be considered the seeds that would eventually grow to become the roots of what we now think of as new age music. Jazz pianist Keith Jarrett, who recorded the album G. I. Gurdjieff: Sacred Hymns for the ECM label in 1980, is among the artists to interpret this music since, but the tracks presented in this five LP box-set are the only recordings available of de Hartmann himself playing the music he and Gurdjieff composed. Also included are seven additional recordings, never before available on vinyl, including a talk by de Hartmann about Gurdjieff’s view of the music.This official Record Store Day 2017 release is limited to 1,000 copies only. The first ever vinyl reissue of these recordings, includes 7 bonus pieces never before on vinyl.All audio restored and remastered from the original analog master tapes. New artwork is featured on 5 deluxe Stoughton “tip-on” jackets and slipcase. This release also contains essay, archive photos and download card for MP3 of all 56 pieces. The final side features custom etching.

“(...)The compositions of this record represent attempts at new means of musical expression. Some utilize conventional musical instruments and sounds in startlingly new ways, giving an impression of an actual “new” sound being created; some use instruments new to music (electrical, mechanical and natural) adding to the composers’ palette of timbres and tonalities. (...)This record is meant as a tool for those using new sounds and techniques in composing. There are basic sounds (some of which are hard to come by) and basic sound patterns, together with examples of how these sounds and patterns may be utilized (...)”Sounds of New Music is a legendary collection of 18 compositions from the 1920s to the mid-1950s representing attempts at a “new means of musical expression.” Composers include Edgard Varèse, Henry Cowell, and John Cage, whose “Dance” is played on a transformed Steinway piano that gives the music an almost primitive quality.

“Prehension ” is the new album of composer and pianist Joep Beving. Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in social sciences. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.Joep Beving is a composer and musician, but to the international advertising community he is mostly known as the face of music agency MassiveMusic.

The second of two volumes! Edgard Varèse belongs to the generation of Bela Bartok, Igor Stravinsky and Anton Webern. Each of these composers produced music of extreme individuality, unlike what their contemporaries were up to, and marking a radical break with the music of the previous century.

This is probably one of the few essential recordings in contemporary classic music.

This is probably one of the few essential recordings in contemporary classic music.

Portland OR’s Braveyoung return with a new album of somber instrumentals entitled Misery And Pride.While arranging the details for this release, founding member Isaac Jones was seriously injured in a motorcycle accident. He has since recovered, and Braveyoung are eager for their long-awaited second album to see the light of day. The album unfolds like an ominous premonition of the turbulent years since its completion. Brooding drones and chamber string arrangements shape these stripped-down eulogies, but the menace of their punk roots remains. The album takes its name from text in Czech author Milan Kundera’s novel, Ignorance.

This stunning 20th-century piano music was inspired by national traditions but uses the language and form of Western music. It compiles music by AMIRAM RIGAI, MANOLIS KALOMIRI, PAUL BEN-HAIM, ILHAN MIMAROGLU, ANDRE AMINE HOSSEIN and ANIS FULEIHAN."In the countries of the Near East, as in any other country where occidental culture is adoptive, musical composition modeled after its occidental counterpart came into being out of an intellectual necessity: that of nding a substitute for a traditional music which, under the dictate of its very essence, resisted evolution and was consequently in decay.It was logical, as far as both the ideals and the basic methods of this process of substitution were concerned, that the fashioning be done after the examples of the national schools of the late nineteenth-century Europe. The rst stream of the westernized near eastern music was therefore romantic (or post-romantic, or impressionist) in its overall gesture. Regardless of the composition date of each individual opus, all of the works recorded here fall into this category: music inspired by national traditions (musical, or other), displaying at least that intangible called “national character” whenever a national element is not evident, but employing a language and a medium belonging to western music (...)" (original liner notes)

The trio Argo was formed in Darmstadt in 1985 by Hans Essel (violin), Marit Hoffmann (viola), and Thomas Stett (clarinet). It existed until 2016 when it was forced to an end by the untimely death of Stett. Argo set out to explore new ways of free collective improvisation that were aimed neither at personal expressivity nor at the evocation of a certain mood or atmosphere. Eschewing any compositional agreements, they experimented with musical forms and processes that emerged spontaneously between the poles of the players' individual lines of improvisation.They played with fleeting objects of sound and transformations, inflections, and disruptions of those objects. Unexpected noises that could arise at any time required and provoked fast reactions of the players. Argo utilized three classical instruments without any preparations but over time developed an augmented range of sound generation techniques on these instruments. Their playing bears almost no traces of tonality, harmony, or rhythm. The title of this edition, "Flüchtige Musik", translates as "fleeting music" or "transient music".The double LP collects recordings made mostly live between 1987 and 2013. The first recording still shows traces of classical sound material but also includes other sound generators like styrofoam and cardboard that were left out later. Already in 1991, Argo had settled on using the three instruments exclusively but with a new range of sounds that can be heard throughout the subsequent recordings. On a few occasions, Argo transferred their concept to experiments with their own speaking voices This led to "Flüchtige Wörter" ("fleeting words"), one recording of which is also included.Edition of 300.

Mark Fell writes: "This series of works on this cassette began in 2011 when I attended a workshop/residency programme led by the British sound artist, composer and performer Jan Hendrickse. During a workshop session I played a pattern generating system via headphones to a drummer, Patrik Jarlestam who played a single snare drum. The basic premise of the work was that the performer should follow the pattern as accurately as possible, and to see what happened at the moments when the pattern changed - i.e. to foreground the performers attempts to follow the pattern and their ability to cope with the subtle yet unusual changes.

John Cage and Christian Wolff's self-titled 1962 LP was an early showcase of both 20th century composer's experimental chops, and is highly regarded as some of their finest work. Cage's piece, which spans the whole of side 1, was originally composed in 1960, and like many of his pieces, would never be performed the same way twice. It involves the overlaying of transparencies to create the "score", while performers manipulate phonographic cartridges in a variety of ways to create amplified sound. To add to the effect, this particular performance is actually the superimposition of four performances. In all, it is a truly groundbreaking piece of 20th century classical. Wolff's side, while less extreme, is equally innovative, and a window into his particular pointillist vision of music.

JOHN CAGE (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But CAGE not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His "Song Books", published 1970 in threevolumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (CAGE loved whiskey and cognac) ...;

A stunning collection of quiet and soft piano pieces by the legendary German keyboardist Hans-Joachim Roedelius co-founder of seminal krautrock bands as Cluster and Harmonia. Inspired by the monumental work of Eric Satie, the album was originally released in 1991, and is recommended for fans of Max Richter, Goldmund and Sylvain Chauveau. 45RPM Audiophile Edition. Contains the bonus track “In Der Dämmerung”.

Musician, visual artist, composer, writer, sculptor, Michael Snow is also one of the world’s most highly acclaimed experimental filmmakers. In 1975 he released this album under the record company Chatham Square. The label was founded by the owner of Michael Snow’s gallery, the Bykert Gallery, which also issued the first Philip Glass recordings. Released in collaboration with Michael Snow.

The product of three years of work, The weathered stone marks Benedict Schlepper-Connolly out as a voice of compelling individuality. Inspired by the secret histories of landscapes, old maps and memory, this is music that possesses the ecstatic, unforced beauty of the natural world. Across only four tracks, the Dublin composer lays out a many-hued musical statement that is at once minimal and teeming with matter. The monumental opening track (The weathered stone) and the explosive string quartet that follows (A view from above) both deal in large, distinct, swathes of music in which a pattern warps elegantly over time. Schlepper-Connolly was inspired here by the corrosion and erosion of building materials and landscapes. He writes: “Landscapes erode, reshape and accumulate; my use of musical material here behaves in a similar way, with musical states exposed to time and altered, often subtly, sometimes more violently.” The song, Beekeepers, which Schlepper-Connolly sings himself, forms the record’s intimate core. A song of memory, reflection and renewal, Beekeepers reveals new, expansive possibilities latent within Schlepper-Connolly’s musical language. These are further explored in the harmonically lush closing track, Field, which is again inspired by the action of time on the land. “In Field,” the composer writes, “musical material is much like earthly material: it retains many of its features over time, but its surface is continually transformed.” Produced by the composer along with Garrett Sholdice, and mastered in Munich by the legendary Christoph Stickel (Ecm, Deutsche Grammophon, Sony Classical), The weathered stone features performances of extraordinary grace and virtuosity, with the Robinson Panoramic Quartet (Irl), and pianist Saskia Lankhoorn (Nl), and reedman Seán Mac Erlaine (irl), joining Schlepper-Connolly to bring his vivid music to life. Benedict Schlepper-Connolly is a composer and producer from Dublin. As a composer, he moves between various musical forms, including chamber music, choral writing, orchestral work, arrangement, songwriting, field recording and music for dance and film. Benedict’s compositions frequently seek out an ecstatic quality, with a reduced palette of materials, rich tonal harmonies and rhythmic intricacy. Born in Ireland to an Irish father and German mother, Benedict studied composition with Donnacha Dennehy, Yannis Kyriakides and Peter Adriaansz at both Trinity College, Dublin, and at the Royal Conservatory of the Hague. Along with Garrett Sholdice, Benedict runs Ergodos, a record label and production company founded in 2006.